congratulations, get rich!

(恭喜发财, 人日快乐)

By Merlynn Tong
Directed by Courtney Stewart

Sydney Theatre Company acknowledges the Gadigal of the Eora nation who are the traditional custodians of the land and waters on which the Company gathers. We pay our respects to Elders past and present, and we extend that respect to all Aboriginal and Torres Strait Islander people with whom we work and with whom we share stories.

Welcome from Artistic Director,
Mitchell Butel

It’s a great pleasure to welcome you to the Sydney season of Congratulations, Get Rich!, our co-production with La Boite Theatre and Singapore Repertory Theatre and a work that embodies the sense of artistic adventure we cherish at Sydney Theatre Company. National and international collaborations have long been central to STC’s identity, because we believe theatre can be at its boldest when ideas, ambition and artists are exchanged across borders.

Across our history, Sydney Theatre Company has been fortunate to collaborate with remarkable national and international partners on productions that continue to shape our impact and legacy. Shows like The President, co-produced with the Gate Theatre, Dublin, The History of Everything, created with Belgian company Ontroerend Goed, The Convict’s Opera, made in partnership with London’s Out of Joint, Avalanche: A Love Story, a collaboration with London’s Barbican Productions and Fertility Fest and Long Day’s Journey Into Night with Portland’s Artists' Repertory Theatre.

"We believe theatre can be at its boldest when ideas, ambition and artists are exchanged across borders."

Each of these collaborations has raised Sydney Theatre Company’s artistic pulse. They challenge us to think differently, to interrogate our assumptions and to embrace the cultural and creative dynamism that arises only through genuine exchange.

Our co-production of Congratulations, Get Rich! continues this tradition.

Merlynn Tong is one of this country’s most mischievous and subversive theatre-makers and I’m sure you’ll revel in the wit, heart and pathos she has spun into this family fantasia, helmed by La Boite’s Artistic Director, Courtney Stewart.

Thank you for joining us in Sydney. I hope this production offers you delight, provocation and a renewed sense of what becomes possible when we make theatre together.

Mitchell Butel 
Artistic Director and Co-CEO
Sydney Theatre Company 

Synopsis

It’s a big night for Mandy. It’s the opening of her beloved karaoke: Money Money Karaoke. To celebrate, she’s hosting an ‘Opening Night: Seventh Night of Chinese New Year aka Human Day Extravaganza’. She's gotten all dressed up and poured her heart and soul into the place with the help of her stalwart partner, Xavier. 

Now, all Mandy needs is for just one person to show up. The arrival of a single customer will be all Mandy needs to keep her business - and herself - going.

Mandy’s hopes dwindle until a mysterious woman appears. She seems to be seriously impressed with Mandy's karaoke set-up and Mandy is immediately mesmerised by her.

Things take a turn when a second woman arrives. Mandy immediately recognises her as her mother, who passed more than two decades ago. Mandy and Xavier realise they are in the presence of two very hungry ghosts. And strangely … all three women are the exact same age.

Why are these ghosts back now? Can Mandy escape the legacy of her past to create her own future?

These questions fuel a night where three powerful women compete, commiserate, and confront each other through stories, showmanship, and song (this is karaoke after all!).

Cast & Creative Team

Cast

Xavier
Zac Boulton

Mum
Seong Hui Xuan

Mandy
Merlynn Tong

Gma
Kimie Tsukakoshi

Creative Team

Director
Courtney Stewart

Designer
James Lew

Lighting Designer
Gabriel Chan

Composer & Sound Designer
Guy Webster

Dramaturg
Jules Orcullo

Music Director
Alex Van den Broek

Fight & Intimacy Director
NJ Price

Production Team

Production Manager
Alexandra Moon

Stage Manager
Peter Sutherland

Assistant Stage Manager
Luke McGilvray

Costume Coordinator
Scott Fisher

Wardrobe Day Maintenance
Hazel Fisher

Lighting Supervisor
Amy Robertson

Lighting Programmer
Matt Quince

Lighting Operator
Filip Wyker
Annie Fraser

Sound Supervisor & Sound Technician
Ben Andrews

Sound Operator
Jem Hoppe

Staging Supervisor
Chris Fleming

Mechanist
Oscar Broadhead

For La Boite Theatre:

Production Manager & Lighting Realiser
Teegan Kranenburg

Technical Coordinator
George Pitt

Sound Operator
Douglas Carr

Workshop Manager
Andrew Mills

Production Photographer
Stephen Henry

90 mins, no interval

This production opened at La Boite Theatre, Brisbane on 4 September, 2025.

The Singapore season opened at Drama Centre Theatre, Singapore on 29 October, 2025.

The Sydney season opened at Wharf 1 Theatre, Sydney on 21 November, 2025.

This production is supported by STC Angels.


Writer's Note
Merlynn Tong

I grew up in my parents’ lush and decadent Karaoke bars. I remember going to visit them in the late afternoons, right before the doors opened. The air would still hold memories of last night’s smoke, sweat and spilled liquor. I loved running from mysterious room to room, each holding portals to entire universes of thundering love songs, dusty destinies and unquenched yearnings. I would often lie on the black and white tiled dance floor and imagine the lights, music and laughter when the doors would open and the whole of Singapore would spill in. 

But my Karaoke fantasies would soon slip away from me. By the time I was 6-years-old, my father would pass from a fast and aggressive cancer. My mother tried her best to keep the business afloat but it was an impossible task for her and her immense grief to undertake. Grief and other miseries would keep pursuing her and by the time I was 14 years-old, she would take her own life. 

Merlynn Tong.

Merlynn Tong.

This show is a portal to my joys and heartaches, rememberings and reckonings. Ancestors are conjured, unspoken rules are broken, and of course, outrageous ballads shall be sung and eternal questions must be confronted: What do we inherit? Whose weight do we carry? Can we break free? 

"This show is a portal to my joys and heartaches, rememberings and reckonings."

When I am backstage these days, in the wings as an actor, waiting to go on stage, I am often reminded of the Karaokes I grew up in. Perhaps in this play I will finally get to revisit the Karaoke of my childhood. Perhaps tonight, I will finally get to hold my mother again. 

This would not have been possible without the love, brilliance and support of a sea of most incredible humans. To each and every one of you, thank you, thank you, thank you. 

Kimie Tsukakoshi and Merlynn Tong.

Kimie Tsukakoshi and Merlynn Tong.

MANDY: "Boring?? Boring? That is the problem with this family. Everything has to be electric, exciting. sexy, stimulating. CAN WE JUST BE NORMAL?

Merlynn Tong, Congratulations, Get Rich!

Director's Note
Courtney Stewart

Zac Boulton, Seong Hui Xuan, Merlynn Tong and Kimie Tsukakoshi.

Zac Boulton, Seong Hui Xuan, Merlynn Tong and Kimie Tsukakoshi.

Ghost stories have, quite unexpectedly, become a central thread in my life’s work. There’s something profoundly human about confronting the past, interrogating it, choosing what to hold on to and what to release in order to grow.  

 Working with Merlynn has been one of the great privileges of my career. Together we’ve created works such as White Pearl and The Poison of Polygamy that have defined me as an artist. Both of those projects were also seeded at Sydney Theatre Company. Our shared love of big stories, big laughs, and even bigger heart continues to be a source of creative fuel. 

Kimie Tsukakoshi, Zac Boulton and Merlynn Tong.

Kimie Tsukakoshi, Zac Boulton and Merlynn Tong.

This production has also been a remarkable collaboration. To bring together Kimie, Huish, Zac, James, Gabriel, Guy, Alex, NJ, Pete, Bri, Jules, our colleagues at Sydney Theatre Company and Singapore Repertory Theatre, and of course, the extraordinary La Boite team, has been an experience I will treasure. It is rare for a brand-new work to launch with an international tour built into its premiere season. To share this story across Brisbane, Singapore, and Sydney is both a privilege and a triumph. 

At the centre of it all is Merlynn’s extraordinary generosity as a storyteller. She has gifted us a play brimming with heart, one that has transformed everyone involved. Congratulations, Get Rich! dares us to look closely at the stories etched into our souls and to wonder: what if their endings could change? 

I can’t wait for you to step inside Money Money Karaoke and discover the riches that wait within. 

Biographies

Merlynn Tong
Playwright and Performer (Mandy)

Merlynn Tong is an actor and playwright. Some of her playwriting credits include Congratulations, Get Rich! (La Boite Theatre, Singapore Repertory Theatre, Sydney Theatre Company), Legends (of the Golden Arches) (MFI funded: Performing Lines WA, co-written/ co-directed with Joe Paradise Lui), Golden Blood (Griffin Theatre, Sydney Theatre Company, Melbourne Theatre Company), Antigone (adaptation, Queensland Theatre, Mercury Theatre UK) and Blue Bones (Playlab Productions). Some of her stage performances include Legends (of the Golden Arches) (Performing Lines WA, co-written with Joe Paradise Lui),  The Poison of Polygamy (La Boite Theatre & Sydney Theatre Company), Golden Blood (Griffin Theatre, Sydney Theatre Company, Melbourne Theatre Company), Blue Bones (Playlab Productions) and White Pearl (Sydney Theatre Company, National Theatre of Parramatta). Some of her screen performances include Top of the Lake: China Girl (BBC, Sundance Films) and In Our Blood (Hoodlum Entertainment). 

Her work Blue Bones (Playlab Theatre) won six Matilda Awards including the Lord Mayor Award for Best New Australian Work, Best Mainstage Production and Best Female Actor in a Leading Role. Her work Golden Blood (Griffin Theatre) was shortlisted for the Victorian Premier’s Literary Award (Drama), Sydney Theatre Awards (Best New Australian Work) and Green Room Award (Outstanding New Australian Writing).  

She is also the prize recipient of Screen Queensland’s Screen to Stage pitch, The First 10 Pages 2.0. She was a part of a team that won Best Ensemble Awards for: Sydney Theatre Award for White Pearl (Sydney Theatre Company, 2019), and The Green Room Award for Enlightenment (Elbow Room, 2022). She was also nominated for a Best Performer award at The Green Room Award for her role as the Monkey King in Joe Paradise Lui’s Enlightenment. 

In 2020, she was the resident writer of Melbourne Theatre Company. She was the 2022 resident playwright of La Boite Theatre and Creative Fellow at the University of Queensland. In 2024, she joined as a Board Associate of A New Approach.  

Courtney Stewart 
Director

Courtney Stewart is an acclaimed director, dramaturg, actor and teaching artist with a deep passion for intercultural works and multicultural dramaturgies. She is the current Artistic Director and CEO of La Boite Theatre. 

A proud Queenslander, Courtney started her professional career as an actor before honing her talents as an artistic leader, diversity advocate and change maker for some of the country’s most prolific companies and organisations including Sydney Theatre Company (as Directing Associate and Richard Wherrett Fellow), Belvoir and Contemporary Asian Australian Performance (as Artistic Associate). 

Courtney was previously Chair of the Equity Diversity Committee, a delegate to the National Performers Committee, and a former board member for Contemporary Asian Australian Performance. She is currently a board member for Creative Australia. Courtney was also recently awarded Queensland University of Technology's Outstanding Young Alumni Award and was recognised in the recent Chinese Museum's Chinese Australian Achievers Awards for Outstanding Community Contribution for the state of Queensland.

Courtney has worked on acclaimed productions such as Maxine Beneba Clarke’s The Hate Race, The Poison of Polygamy by Anchuli Felicia King, Miss Peony, Top Coat, and Single Asian Female by Michelle Law. 

ZAC BOULTON 
Xavier

Sydney Theatre Company: Debut. Other Theatre: As Actor: Shock Therapy Productions: Pat Malone’s Magic Garden (Pat Malone, 2025), Fuel (Seb, 2025), Viral (Art, 2024), White Rabbit Theatre: Fish (Gus, 2025). Elaine Acworth: My Father’s Wars (Bill, 2021–22). Belloo Creative: Woman in the House in the Dunes (Lead/Ensemble, 2020). As Director/Producer: Prism House Productions: The Cagebirds (2024). Film: The Brighton Miracle (Hooker, 2020). As Writer/Director/Producer: Jessy (2021), As Director/Producer: Stalk This Way (2025). TV: Good Cop Bad Cop (Stan, 2025), Monarch (Apple TV, 2025), Nautilus (Disney, 2023). Other: Commercial work for Suncorp, XXXX, UBET, Supercheap Auto, Centr Fitness, RemServ, Early Edge Childhood Learning, and TerryWhite Chemmart. Positions: Teaching Artist with Shock Therapy Arts, Queensland Theatre, La Boite  Theatre Company, White Rabbit Theatre Ensemble and Dead Puppet Society.Training: Advanced Diploma of Acting (University of Canberra); Bachelor of Applied Theatre (Griffith University). Pronouns: He/Him.

SEONG HUI XUAN
Mum

Sydney Theatre Company: Debut. Other Theatre: Wild Rice: La Cage aux Folles, The Amazing Celestial Race, Café, The Emperor’s New Clothes. Pangdemonium: Urinetown: The Musical, Rabbit Hole, Spring Awakening, Gruesome Playground Injuries, The Full Monty, Rent. SRT: Twelfth Night, Rising Son, Forbidden City. Checkpoint Theatre: The Last Bull: A Life In Flamenco. Dream Academy: Company, Into the Woods. Papermoon Puppet Theatre: The Little Nests. The PaperBoats: Especially on Birthdays. As Choreographer: The Theatre Practice: Partial Eclipse of the Heart, The Soldier and His Virtuous Wife, Liao Zhai Rocks!, Lao Jiu: The Musical. Wild Rice: The Amazing Celestial Race. SRT: Chicken Little. Sing’theatre: Forever Young, [title of show]. As Associate Choreographer: SRT: Forbidden City, The Three Little Pigs, The Three Billy Goats Gruff, Little Red Riding Hood. As Assistant Choreographer: Pangdemonium: Rent. Metropolitan Productions: The LKY Musical. Awards: Straits Times Life Theatre Award Winner, Best Performance in a Supporting Role (April in Stephen Sondheim’s Company). Life Theatre Award Winner, Best Ensemble Award (ensemble in Urinetown: The Musical by Pangdemonium). Training: Lasalle College of the Arts. Pronouns: She/Her. 

KIMIE TSUKAKOSHI
Gma

Sydney Theatre Company: The Poison of Polygamy, Top Coat, Death of a Salesman. Other Theatre: Singapore Repertory Theatre: Congratulations, Get Rich! Brisbane Festival: Trent Dalton’s Love Stories. QT: Nearer the Gods. La Boite: Congratulations, Get Rich!, The Dead Devils of Cockle Creek. Critical Stages/Belloo Creative: Hanako: Desire and Other Secret Weapons. TEG Live: Puffs the Play. Woodward Productions: The Mystery of the Valkyrie. Oscar Theatre Company: Boy & Girl. Cabaret: Mercury Rising. Film: Great White, Marley Someone, Rip Tide, Zelos. Short Film: Chasing the Sun, The House That Hungers. TV: NCIS: Sydney S1, Miss Fisher’s Modern Murder Mysteries, The Bureau of Magical Things, The Family Law, Doctor Doctor, Secret City, H2O Just Add Water. Audiobook: Until the Red Leaves Fall, A Place Near Eden, She is Haunted, The Shut-Ins. Awards: Matilda Award Winner, Best Performance in a Supporting Role (Trent Dalton’s Love Stories). CGA Rising Star Award, Equity Ensemble Award for Outstanding Performance by an Ensemble in a Comedy Series (The Family Law). Pronouns: She/Her. 

JAMES LEW 
Designer

Sydney Theatre Company: American Signs, The Poison of Polygamy (with La Boite), Top Coat. As Associate Designer: The Importance of Being Earnest, The Tempest. Other Theatre: Sydney Chamber Opera: earth.voice.body. Yirramboi & Liveworks: Daddy. Double Water Sign: HYDRA. VIMH: I sat and waited but you were gone too long, my sister feather, let bleeding girls lie, The View From Up Here. MICF: Romeo is Not the Only Fruit. As Associate Designer: Little Ones Theatre: Merciless Gods, The Happy Prince, Suddenly Last Summer. Fraught Outfit: Book of Exodus – Part II. Positions: 2021/2022 Sydney Theatre Company Design Associates Program. Training: VCA. 

GABRIEL CHAN
Lighting Designer

Sydney Theatre Company: Debut. Other Theatre: Singapore Repertory Theatre: The LKY Musical, The Almighty Sometimes, Venus in Fur, Constellations, Shakespeare in the Park: Macbeth, A Midsummer Night’s Dream, Julius Caesar, Julius Caesar, Romeo & Juliet, The Tempest. Singapore International Festival of the Arts (SIFA) commissions: Angel Island, Pompeii, A Dream Under the Southern Bough: Existence. The Fingers Players: Animal Farm, Transplant, Every Brilliant Thing. Opera: Singapore Symphony Orchestra: L’Heure espagnole (The Spanish Hour). The Opera People: Iphigénie en Tauride, Don Giovanni, Alcina. Music: Singapore Chinese Orchestra: Rhapsodies of Spring, Daybreak, Virtuoso Series. Siong Leng Musical Association: Silence of All Things, The Origins Cipher, Fantasia, Soul Journey Ten Years. IMM Performing Arts (Malaysia): Aspirations & Blessings, Sound of Peace S-E Asia tour. Scene Productions (Kuwait): Aghani Mulsalat (Saudi Arabia). Dance: Festspielhaus St Pölten commission: Ballroom. Opéra National du Rhin: Dancing Mahler in the 21st Century. Decadance: The Eleventh Hour, No Corners (Istanbul), Double Trouble. Awards: Singapore Young Artist Award 2019. Singapore National Arts Council Overseas Bursary. Strand Lighting Scholarship. Training: Hong Kong Academy for Performing Arts. Observership at Metropolitan Opera. Pronouns: He/Him. 

GUY WEBSTER 
Composer & Sound Designer

Sydney Theatre Company: Cost of Living (with Queensland Theatre), Fantastic Mr. Fox (Shake & Stir). As Sound Designer: The Poison of Polygamy (with La Boite). Other Theatre: Queensland Theatre: The Effect (with Sydney Theatre Company), Drizzle Boy, L’Appartement, Constellations, The Button Event, The Seagull, Brisbane, Venus In Fur, Kelly, Orphans. La Boite Theatre: An Ideal Husband, Naked & Screaming, From Darkness, Lysa & The Freeborn Dames, Blackrock, A Streetcar Named Desire, The Tragedy of King Richard III, As You Like It, Ruben Guthrie, I Love You Bro, The White Earth, Kitchen Diva, Summer Wonderland, The Narcissist, Last Drinks, Urban Dingoes; Shake & Stir: James and the Giant Peach, Frankenstein, Tae Tae in the Land of YAAAS, Fourteen, The Twits, Jane Eyre, A Christmas Carol, Fourthcoming, Fantastic Mr Fox, Dracula, George’s Marvelous Medicine, Wuthering Heights, Revolting Rhymes and Dirty Beasts, Tequila Mockingbird, 1984, Animal Farm, Out Damn Snot; Belloo Creative: Boy Lost; Playlab Theatre: White China, Brutal Utopias, Blue Bones, Horizon, Magpie; Brisbane Festival: Neeirgoo— Spirit of the Whale, Riverfire Soundtrack, Art Boat Stories Of Country; Shock Therapy Arts: Locked In, Medea, Viral, Welcome to Sameville; Lisa Wilson & Nathan Sibthorpe: Bunker; Homunculus Theatre: High Tea With Booff, The Knock Em Downs; Circus Corridor: The Rising; Tammy Zarb & Co: Inside Out; Bleach Festival: Follow The Bias, Hotelling, Shifting Sands, Quiet By Nature (Gogi Dance), Fish Out Of Water; Brisbane Writers Festival: Angel’s Palace; Jute Theatre Company: La Bella Figura, To Kill A Cassowary, Here We Are All Assembled, The Salt Remains, Bastard Territory; The Farm: Depthless; State Library of Queensland: Teacup Sonata, I Cherish This…, The Unexpectedly Mind Boggling Adventure; National Gallery Singapore: Closer; Institute Of Contemporary Art London: Shifting Intimacies; National Art Museum of China/ University of California/BIOS Athens, Ars Electronica Festival, Austria/Australian Centre for the Moving Image: Intimate Transactions. Awards: Matilda Award, Best Design — Sound or Composition Bunker; Prix Ars Electronica — Interactive Art Honorable Mention. 

JULES ORCULLO
Dramaturg

Sydney Theatre Company: American Signs. Other theatre: As Dramaturg: ILBIJERRI Theatre Company, Blak In The Room. As Writer and performer: Belvoir 25a: Forgetting Tim Minchin, UK Festival Tour: phroot sahlad, Theatre Absolute: May Utang. Positions: Dramaturg, Sydney Theatre Company (current), Resident Dramaturg, Encounter Theatre (current), Founder and steward, The Joy Offensive, Founding member, Kallective. Awards: 2024 Griffin Award (My Dad Never Saw The Beatles), 2023 BWW Award for Best Play (Forgetting Tim Minchin). Pronouns: she/they. 

ALEX VAN DEN BROEK
Music Director

Sydney Theatre Company: Debut. Other Theatre: As Music Director: La Boite Theatre & The Little Red Company: Rachel Burke’s Fancy Long Legs. As Choral Director: The Little Red Company: Sisters Are Doing It For Themselves. As Arranger: The Little Red Company: Sisters Are Doing It For Themselves, Your Song, Swing On This. TV: Lord Mayor’s Christmas Carols 2021 - 2024. Other: Choral Director of Little Red Choir. Arranger for Selve Symphony, Broadway Goes A Cappella, Bad Lesbian (Concerts). Training: Queensland University of Technology. Pronouns: She/Her.

NJ PRICE
Fight & Intimacy Director

Sydney Theatre Company: Cost of Living (with Queensland Theatre), The Visitors (with Moogahlin) Queensland Theatre: Malacañang Made Us, Medea, Vietgone, The Appleton Ladies’ Potato Race, As You Like It, Drizzle Boy, The Almighty Sometimes, The Sunshine Club, Bernhardt/Hamlet, L’Appartement, Death of a Salesman, The Longest Minute, Twelfth Night, Hedda, An Octoroon, Constellations, Happy Days, Ladies in Black, Oedipus Doesn’t Live Here Anymore, Australia Day, The Mountain Top, The Effect, The Seagull, Black Diggers, Gasp!, I Want To Know What Love Is, Mother Courage and Her Children, The Pitch, End of The Rainbow, Venus in Fur, Fat Pig, Kelly, Head Full of Love, Seeding Bed, Pygmalion, The Removalists, No Man’s Land, Cat On A Hot Tin Roof, Man Equals Man, Water Falling Down, Waiting For Godot, Eating Ice Cream With Your Eyes Closed, Thom Pain, The Female of the Species, That Face, The Little Dog Laughed, The Orphanage Project. La Boite Theatre: Congratulations, Get Rich!, We're All Gonna Die! (with Dead Puppets Society), Macbeth, Single Asian Female, Naked and Screaming, The Dead Devils of Cockle Creek Other Credits: Various credits for Queensland Theatre’s Youth Ensemble/The Scene Project, deBase, Opera Queensland, Harvest Rain, Backbone Youth, 4MBS, Grin & Tonic, Blacklight, Vena Cava, Ignations, Griffith Conservatorium, Starlight, The Good Room, That Theatre, Pretend Productions, University of Queensland, University of Southern Queensland, Queensland University of Technology, Aboriginal Centre for Performing Arts, Brisbane Grammar, Citipointe Christian College, Savoyards, Woodward Productions, Dragspeare, Cut & Run Productions, QUT Musical Society, JMC Academy, Assembly of Elephants, Emmanuel College, Brisbane Festival, Queensland Academies of Creative Industries, Hit Productions, Playlab Theatre. Training: Coleg Powys, Wales; Mountview Academy of Theatre Arts, London. Positions: Accredited Teacher, British Academy of Dramatic Combat; Fight Director, Society of Australian Fight Directors; Teacher, Indelability Arts. Awards: British Academy of Dramatic Combat — Advanced with Recommendation; British Academy of Fencing — 5-Star Foile, 4-Star Sabre; National All Styles Martial Arts Tournament (2018) — Australian Champion, Women’s Advanced, Australian Champion, Veterans Division. 


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SYDNEY THEATRE COMPANY BOARD OF DIRECTORS

Ann Johnson (Chair)
David Craig (Deputy Chair)
Anita Belgiorno-Nettis AM
Brooke Boney
Mitchell Butel
Sarah Constable
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Anne Dunn
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Annette Shun Wah
Rosie Williams

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